Stubborn Poetries is a study of poets whose work, because of its difficulty or simple resistance to conventional explication, remains more or less firmly outside the canon. Book jacket.

Selected by Dave Smith as one of the five volumes published in 1990 in the National Poetry Series "I could not leave this book aside nor, among so many worthy others, could I choose another. It interested me, crooned to me, and in the end I loved it. I hope he writes many more. Read it. You will see why." -- Dave Smith "A poet whose own craft is beyond dispute and whose gifted heart has something to tell us about our ordinary selves we had almost despaired of hearing again in the American tongue." --John D. Bernard, Poet Lore

What kinds of pleasure do we take from writing and reading? What authority has the writer over a text? What are the limits of language's ability to communicate ideas and emotions? Moreover, what are the political limitations of these questions? The work of the French cultural critic and theorist Roland Barthes (1915-80) poses these questions, and has become influential in doing so, but the precise nature of that influence is often taken for granted. This is nowhere more true than in poetry, where Barthes' concerns about pleasure and origin are assumed to be relevant, but this has seldom been closely examined. This innovative study traces the engagement with Barthes by poets writing in English, beginning in the early 1970s with one of Barthes' earliest Anglophone poet readers, Scottish poet-theorist Veronica Forrest-Thomson (194775). It goes on to examine the American poets who published in L=A=N=G=U=A=G=E and other small but influential journals of the period, and other writers who engaged with Barthes later, considering his writings' relevance to love and grief and their treatment in poetry. Finally, it surveys those writers who rejected Barthes' theory, and explores why this was. The first study to bring Barthes and poetry into such close contact, this important book illuminates both subjects with a deep contemplation of Barthes' work and a range of experimental poetries.

Modern poetry, at least according to the current consensus, is difficult and often depressing. But as Humor in Modern American Poetry shows, modern poetry is full of humorous moments, from comic verse published in popular magazines to the absurd juxtapositions of The Cantos. The essays in this collection show that humor is as essential to the serious work of William Carlos Williams as it is to the light verse of Phyllis McGinley. For the writers in this volume, the point of humor is not to provide "comic relief,†? a brief counterpoint to the poem's more serious themes; humor is central to the poems' projects. These poets use humor to claim their own poetic authority; to re-define literary tradition; to show what audience they are writing for; to make political attacks; and, perhaps most surprisingly, to promote sympathy among their readers. The essays in this book include single-author studies, discussions of literary circles, and theories of form. Taken together, they help to begin a new conversation about modernist poetry, one that treats its lighthearted moments not as decorative but as substantive. Humor defines groups and marks social boundaries, but it also leads us to transgress those boundaries; it forges ties between the writer and the reader, blurs the line between public and private, and becomes a spur to self-awareness.

Expanding Authorship collects important essays by Peter Middleton that show the many ways in which, in a world of proliferating communications media, poetry-making is increasingly the work of agencies extending beyond that of a single, identifiable author. In four sections--Sound, Communities, Collaboration, and Complexity--Middleton demonstrates that this changing situation of poetry requires new understandings of the variations of authorship. He explores the internal divisions of lyric subjectivity, the vicissitudes of coauthorship and poetry networks, the creative role of editors and anthologists, and the ways in which the long poem can reveal the outer limits of authorship. Readers and scholars of Wallace Stevens, William Carlos Williams, George Oppen, Frank O'Hara, Robert Duncan, Robert Creeley, Jerome Rothenberg, Susan Howe, Lyn Hejinian, Nathaniel Mackey, and Rae Armantrout will find much to learn and enjoy in this groundbreaking volume.

Stubborn in Love I constantly mention that I resigned from the kingdom of poetry, but I am definitely still bound in the castle of love in all its forms. The forms of love are variable, unlike what the lovers might admit, and the two most prominent forms of love are intense eagerness and deep intimacy. It is my great luck that I did not abandon one of these two forms throughout my relationship with my beloved, to whom I have picked every single piece of this bouquet of poems.

This is a story about a country boy, born into poverty in a community where almost every male of age worked in the coal mines, The author's older brothers and father, almost all of his uncles and cousins, and non-relatives in the community, nearlyall worked in the coal mines. The author, at a very young age, vowed to himself that he would never go to work in the coal mines. Where education was not rated very highly, since none was needed to work underground in the dirty, dangerous mines. As this was quite a difficult vow at this place and in that time, it proved to be a real struggle to escapethe environment and the culture of the neighborhood. How he managed to do this proved to be a struggle and a precarious journey for a shy country boy.

First published in 1970, this collection is made up of a selection of essays composed between 1962 and 1968, written by distinguished humanist and literary critic Northrop Frye. The book is divided into two parts: one deals largely with the contexts of literary criticism; the other offers more specific studies of literary works in roughly historical sequence. One of the essays is Frye’s own elucidation of the development of his critical premises out of his early concern with the poetry of William Blake. Taken together, the essays offer a continuous and coherent argument, making a whole that is entirely equal to the sum of its parts.

STUBBORN GREW is the first volume of the long poem, FORTH OF JULY.